Beschreibung
Produktdetails
Format
Kopierschutz
Nein
Family Sharing
Ja
Text-to-Speech
Nein
Erscheinungsdatum
19.06.2025
Verlag
S. PatakisSeitenzahl
336 (Printausgabe)
Dateigröße
8309 KB
Sprache
Griechisch
EAN
9789601686967
"The Murderess" (1903) holds, by general consensus, a unique place in the work of Papadiamantis (1851-1911). Unique in both senses of the word: distinctive and outstanding.
Without The Murderess, his oeuvre would be incomplete-at least in terms of the problem of evil, a central concern throughout the Papadiamantian corpus. The kind of evil Papadiamantis portrays is usually the everyday, ordinary evil-often stifling in its misery-the evil committed by the normal, average person. His notion of evil is not crime in the legal or extreme sense, not the kind of transgression that threatens the fabric of the community. It is not exceptional; it is banal.
The Murderess is the exception-an important one at that-since it is not only one of Papadiamantis's most significant works, but also a cornerstone of modern Greek prose fiction. Without The Murderess, Papadiamantis's body of work would be entirely different. The evil committed by old Hadoula is not the usual, everyday, social kind of evil-it is great evil: radical, unforgivable.
But who is this Frangoyannou? What kind of person is this woman who commits such an extreme crime? And what is it that drives her to dare such an act?
Without The Murderess, his oeuvre would be incomplete-at least in terms of the problem of evil, a central concern throughout the Papadiamantian corpus. The kind of evil Papadiamantis portrays is usually the everyday, ordinary evil-often stifling in its misery-the evil committed by the normal, average person. His notion of evil is not crime in the legal or extreme sense, not the kind of transgression that threatens the fabric of the community. It is not exceptional; it is banal.
The Murderess is the exception-an important one at that-since it is not only one of Papadiamantis's most significant works, but also a cornerstone of modern Greek prose fiction. Without The Murderess, Papadiamantis's body of work would be entirely different. The evil committed by old Hadoula is not the usual, everyday, social kind of evil-it is great evil: radical, unforgivable.
But who is this Frangoyannou? What kind of person is this woman who commits such an extreme crime? And what is it that drives her to dare such an act?
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